Page 119 - revitas_freskemono_itl-gb-ZA LISTANJEpredlist

Fluted – futing is a term from ancient architecture referring to the shallow grooves running vertically on columns or pilasters. It is derived from the Latin canna meaning cane.

Tis decorative element increased the height visually and covered the horizontal segments of the column.

Architrave – part of the entablature in ancient architecture. Antique-like – resembling Antiquity.

Anthony’s modeling of the face, anatomic details of meticulous drawing and the thick, opaque layers of color.

In St. Sylvester near Oprtalj are mural paintings that by their style are similar to the ones in Zanigrad. Te legend of the Miracle of St. James on the northern wall is the best preserved scene. Te partly preserved Virgin is the remainder of the Annunciation. Beside her, on the southern wall, is the hardly legible representation with a boat in a storm and a whale, and therefore noticeable sailors throwing Iona into the whale’s mouth.

Of the entirely painted interior of St. Helen’s Church, only the fresco of the Annunciation has been preserved. It stands on the triumphal arch, while in the half-dome vault of the apse is Christ in the mandorla surrounded by symbols of Four Evangelists and a round medal-lion with the resurrected lamb. To his left are St. Helen, and to the right most probably St. Nazarius, the bishop of Koper.

Te palette of our painter was restricted to four primary colors: white, yellow, red and blue-green along with details painted in purple. Although the red color prevails, optically it is

the blue-green, so typical of this painter that is dominant. By its pastel tone it creates an atmosphere of surreal and transcendental giving the painting certain softness. Te plasticity is achieved by modeling the red on the light rosy complexion. Te silhouette of the body is outlined by a thick line in order to separate the bodies from the background. Te decorative quality is accentuated by an abundance of ornament in contrast to the two-dimensional fatness. Tere is a prevailing impression of stylized and geometrical tendency of the fgures. Tube-like shapes are repeated in the modeling of the whole bodies as well as in the arms and pleats on the robes, and even angel wings. Te present airiness of the painting is but an impression appearing due to the partial loss of pigment because it was applied in a thin layer. Details have faded so that some fgures appear as ghosts. Details of anatomy and the portraits are typifed, particularly the egg shaped, gentle, charming faces and the undulating stylized yellow hair.

Te frescoes have until recently been attributed to the workshop of Klerigin from Koper, but have lately been more precisely attributed to the Furlanian workshop that existed in nearby Čirkoti.

Fluted – futing is a term from ancient architecture referring to the shallow grooves running vertically on columns or pilasters. It is derived from the Latin canna meaning cane.

Tis decorative element increased the height visually and covered the horizontal segments of the column.

Architrave – part of the entablature in ancient architecture. Antique-like – resembling Antiquity.

Anthony’s modeling of the face, anatomic details of meticulous drawing and the thick, opaque layers of color.

In St. Sylvester near Oprtalj are mural paintings that by their style are similar to the ones in Zanigrad. Te legend of the Miracle of St. James on the northern wall is the best preserved scene. Te partly preserved Virgin is the remainder of the Annunciation. Beside her, on the southern wall, is the hardly legible representation with a boat in a storm and a whale, and therefore noticeable sailors throwing Iona into the whale’s mouth.

Of the entirely painted interior of St. Helen’s Church, only the fresco of the Annunciation has been preserved. It stands on the triumphal arch, while in the half-dome vault of the apse is Christ in the mandorla surrounded by symbols of Four Evangelists and a round medal-lion with the resurrected lamb. To his left are St. Helen, and to the right most probably St. Nazarius, the bishop of Koper.

Te palette of our painter was restricted to four primary colors: white, yellow, red and blue-green along with details painted in purple. Although the red color prevails, optically it is

the blue-green, so typical of this painter that is dominant. By its pastel tone it creates an atmosphere of surreal and transcendental giving the painting certain softness. Te plasticity is achieved by modeling the red on the light rosy complexion. Te silhouette of the body is outlined by a thick line in order to separate the bodies from the background. Te decorative quality is accentuated by an abundance of ornament in contrast to the two-dimensional fatness. Tere is a prevailing impression of stylized and geometrical tendency of the fgures. Tube-like shapes are repeated in the modeling of the whole bodies as well as in the arms and pleats on the robes, and even angel wings. Te present airiness of the painting is but an impression appearing due to the partial loss of pigment because it was applied in a thin layer. Details have faded so that some fgures appear as ghosts. Details of anatomy and the portraits are typifed, particularly the egg shaped, gentle, charming faces and the undulating stylized yellow hair.

Te frescoes have until recently been attributed to the workshop of Klerigin from Koper, but have lately been more precisely attributed to the Furlanian workshop that existed in nearby Čirkoti.

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